Canclini Culturas Hibridas prologo. 10 Pages. Canclini Culturas Hibridas prologo . Uploaded by. Iván García. Download with Google Download with Facebook. How do we speak of modernity?’ That is the question that García Canclini asks at the beginning of his book, Culturas Híbridas: estrategias’para entrar y salir de. Culturas Hibridas by Nestor Garcia Canclini. ( ratings). Paperback Book, pages. Description: The essays in this book address the latest topics and.

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Thus for instance Bal’s semiotic study points out that the nineteenth century statue of Queen Maya giving birth to the Buddha from her side, marks a transition between the exhibition of animals to that of foreign humans.

This is evident from a photograph of the interior of the ethnology room of the Museum which shows a group of life-size figures representing an indigenous family What is distinctive about Latin America now. Beside her are two hbridas filled with what looks like the leaves used for making tamales the details of the ihbridas are not clear. How do we study modernity? In Latin America, the staging of difference is perfectly compatible with integration into the global system. This vocabulary has the advantage of demystifying culture and tearing it away from the romantic notion of creation; the disadvantage is that the economic metaphor makes it impossible to broach the problem of subjectivity.

Hence the significance of a question posed by Nelly Richard: What does a television producer or a market researcher understand by the popular? Introducing gender cukturas a discussion of the national patrimony might also have led to the question of how male and female have been significantly recoded by the media and private enterprise.

I cannot go into the details of her analysis. Indeed the discussions of theories of modernity and postmodernity which are reproduced here only strengthen the impression that these words are mere props that only disguise a rather old problem – that of Latin American difference.

Whether this adds up to a more democratic culture is another matter, given that ‘there is still inequality in the canclimi of symbolic goods and in access to cultural innovation’. In the United States, hybridity is often a staging of the exotic in order to display a pluralistic happy family, although, as everyone knows, the space between the ghetto and the melting pot is occupied only by baseball stars, media personalities and best-selling authors.


Hybridity is a botanical metaphor closely linked therefore to the notion of culture as cultivation, but it has some of the same problems as mestizaje.

In the weak sense and since there have always been plunderings, borrowings and intertextuality, the task of the critic seems to be confined to the accumulation of evidence of new hybrids. The archaeological exhibition is on the ground floor and represents the past. Clearly the imperial thrust of the Natural History Museum is not to be equated with the national narrative of the Anthropological Museum although the articulation of gender in the narrative is equally important.

This representation of the national patrimony over-looks the hybrid forms assumed by traditional ethnic groups when they come into contact with capitalist socioeconomic and cultural development’. Perhaps the central theme of cultural policies today is how to build societies with democratic projects shared by everybody without making everyone the same, societies in which dispersal is transformed into diversity and the inequalities between classes, ethnic and other groups are reduced to differences’.

How do we speak of modernity? Let me mention one example of an analysis into which gender might have appropriately been introduced.

The trouble with the old term mestizaje was that it suggested that culture sprang naturally out of copulation. How do we analyse those phenomena that are not covered by traditional categories of high or popular culture? His Culturas populares en el capitalismo was a real breakthrough in that it described artisan production and fiestas not as survivals or degenerate remnants of a once authentic culture but as immensely variable relations to the market, to national culture and to local history.

By gender I do not mean women or making space for women.

Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. What then is the stake in ‘hybridity’? Not only are indigenous groups made to seem ‘the axis of national culture’ but they are also represented as traditional.

Criticas y reseñas

Jean Franco Publicado en: The industrial cancliini is not intended to be frivolous. On the second floor the Museum offers scenes of contemporary life, represented almost entirely by life size models of indigenous groups or photographs of the indigenous.


Gender is not a woman’s problem but an essential category of analysis.

When one looks at this photograph, it is precisely the difference between Woman and women that is on display, the public sanctification of formally private life which feminists have made a matter of public debate, emphasizing that abortion is not only a ‘woman’s question’.

The subjectivities constituted in this new world order are gendered and mobile. In its weaker sense, it might simply refer to the postmodern permission to use all repertoires without worrying about authenticity.

But hibgidas scene surely also illustrates the breakdown of the old categories of public and private. Hybridity-as-difference is too indiscriminate to ac-count for both the vernaculars of cu,turas culture hibridzs the anomalies that truly cause dissent within the happy family.

As many critics have pointed out, however, Latin American culture has been produced by a mestizo population whose culture, though predominantly Hispanic and European, was shaped in contact with indigenous and African-American groups.

The hjbridas idea of ‘modernity 7 expressed in the title seems awkward. Finally the big question: But it is only the latter that undo the power of the centre.

Culturas hibridas en tiempos gloalizados. by Lucia Garcia on Prezi

One contemporary recodification of gender is, indeed, graphically represented by a photograph of a group of feminists standing in front of the statue of Mexican Motherhood. One of the women, dressed in a huipil and a long skirt, kneels in the foreground, apparently tending an open fire. The omission of problems of subjectivity and enunciation limit the interdisciplinary potential of this book.

Let me simply quote the sentence that concludes her discussion of this statue: While there is nothing particularly startling in this observation, gendering is surely significant in this representation since it is the family that can best demonstrate the official view of the unchanging continuity of private life between the remote past and the present.

And not only must he make notes but he must also make sense:

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